On the floor below, the centre 'X' PixelLine configuration is mirrored using another 32 battens, this time set below a frosted Perspex floor. These 64 battens are being driven by video images created specially for the show by lighting operators/programmers Svend Pedersen and Ross Williams and graphic artist Chris Plant, designed to compliment the geometry of the stage and Christopher George's set. The images are stored and manipulated in a computer running PixelMAD software, and output via the WholeHog II lighting console used to run the show's lights.
The 'X' PixelLine fixtures are configured in Max 1 (wide mode), enabling each of the batten's 18 cells to be controlled individually, which looks particularly dramatic with high contrast, low-res video footage blasting through them. "They're extremely versatile in wide mode," says Gurdon, "and it offers a refreshing new look to the PixelLine image and effect."
A further seven PixelLines per side are used to delineate the edges of two more flown scenic X's that flank the central one. These are used as conventional light sources as opposed to receiving video input. All The PixelLines were supplied by main lighting contractor PRG.
(Sarah Rushton-Read)
